To those out on their own paths, setting little fires - Celeste Ng

Everyone on Shaker Heights was talking about it that summer: how Isabelle,the last of the Richardson children, had finally gone around the bend and burned the house down. All spring the gossip had been about little Mirabelle McCullough--or, depending which side you are on, May Ling Chow--and now, at last, there was something new and sensational to discuss. (chapter 1 first lines)

Unlike the memoirist, who promises to tell the truth, the fiction writer says upfront, “I am going to tell you a lie, but at the end you will feel that it is true.” He or she is a kind of magician who makes sure you know that the flames are only an illusion before letting you burn your fingers in them. Every event, every character, must be made real by the author’s skill. It is a tricky balancing act, because the fiction writer aims for simultaneous belief and disbelief: a belief in the essential trueness of this world—that these people could exist, that these events could have happened—with a full consciousness of their falsehood…fiction’s role is essentially persuasive. It forces you to start from a position of disbelief by announcing its own fictitiousness. Then it transforms you into the literary equivalent of a sinner seeing the light, a prodigal son whose faith is stronger for having doubted and been redeemed. You don’t question a memoir; you believe it’s true when you pick it up. But you are told from the beginning that fiction is untrue. It depends on its own power to convince you in spite of this knowledge, and that belief, when it comes, is a complete transformation. And this is why we need fiction.

It would disappear forever from her memory of Lydia, the way memories of a lost loved one always smooth and simplify themselves, shedding complexities like scales. (p271)